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The parts of graffiti I like are really antagonizing still - it's not something that a museum would really embrace.

After pop art, graffiti is probably the biggest art movement in recent history to have such an impact on culture.

I always say that I'm an artist who works with pictures and words, so I think that the different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.

I've heard my work called 'bold' and 'graffiti-like,' but for me it is always instinctual. I start with a shape or a colour and go from there.

I love graffiti because it enables kids from every social extraction to do something that brings them closer to art, when they normally wouldn't be stimulated to be visually creative. Graffiti helps to develop an awareness of immediate expressive and uncontrolled freedom.

Graffiti is linear, and it's done with a pencil, and it's like writing on walls.

All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars.

Graffiti has an interesting relationship to the broader world of hip-hop: It's part of the culture, but also in a weird way a stepchild of the culture.

There is a tradition that sees journalism as the dark side of literature, with book writing at its zenith. I don't agree. I think that all written work constitutes literature, even graffiti.